
I Crave This Chile Crisp Tofu
This happens all the time to me — maybe it happens to you? — I come across a recipe on New York Times Cooking while I am searching for something else, and I just really have to have it for dinner that night.
The recipe in question this time: roasted tofu and green beans made magical with chile crisp, the clumpy, crunchy, allium-flecked chile oil that can take something plain (whether it's steamed white rice or vanilla ice cream) and make it thrum. This is a really good dinner you can make with astonishing ease. I keep chile crisp in stock at home, and if you don't already, I think you should — spoon it over olive oil-fried eggs, swirl it into fettuccine Alfredo, use it as a marinade for chicken cutlets or tuck it in dumplings (and dip those dumplings in it, too).
Speaking of dumplings: It's our first ever Dumpling Week! Just in time for Lunar New Year, we have recipes and videos for five new plump, juicy, chewy, crisp (and even sweet) dumplings, which is how I learned that Hetty Lui McKinnon, one of our beloved writers, has a tattoo of her mother's hands folding dumplings.
Alert! Do you live in the Bay Area, Los Angeles or Boston? I'm coming your way to talk cooking and 'Easy Weeknight Dinners,' our book of fast recipes for busy people. Come see me with Eric Kim and Melissa Clark in Boston on Feb. 3, with Eric and Genevieve Ko in Downtown Los Angeles on Feb. 9 and with Melissa again in San Francisco on Feb. 10.
What are you making? Do you have any stop-in-your-tracks, drop-everything-and-cook recipes from Cooking? Email me at dearemily@nytimes.com, and you may turn up in a future newsletter.
Turkey chili; cod and kimchi stew; perfect buttermilk pancakes.
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New York Times
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Arthur Hamilton, Who Wrote the Enduring ‘Cry Me a River,' Dies at 98
Arthur Hamilton, a composer best known for the enduring torch song 'Cry Me a River,' which has been recorded by hundreds of artists, died on May 20 at his home in Los Angeles. He was 98. His death was announced this month by the American Society of Composers, Authors and Publishers and the Society of Composers & Lyricists Mr. Hamilton's long career included an Oscar nomination for best original song. But his most famous composition by far was 'Cry Me a River.' It was one of the three songs he wrote for the 1955 film 'Pete Kelly's Blues,' which starred Jack Webb as a jazz musician fighting mobsters in Prohibition-era Kansas City, Mo. At the time, Mr. Webb was also playing his most famous role, Sergeant Joe Friday, on the television series 'Dragnet' (1951-59). Peggy Lee, who played an alcoholic performer in the film, sang Mr. Hamilton's 'Sing a Rainbow' and 'He Needs Me.' Ella Fitzgerald, who was also in the film, sang 'Cry Me a River,' but her rendition was cut by Mr. Webb, who was also the director and producer. 'Arthur said to me that the irony was that when Ella recorded it' — years later, for her 1961 album 'Clap Hands, Here Comes Charlie!' — 'he thought she made one of the greatest recordings of it ever,' Michael Feinstein, the singer and pianist, said in an interview. 'But Jack felt she didn't have the emotional bandwidth to do it justice.' Want all of The Times? Subscribe.


Los Angeles Times
39 minutes ago
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A new look at ‘One Flew Over the Cuckoo's Nest' plus the week's best movies in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Among this week's new releases is 'Materialists,' a romantic dramedy starring Dakota Johnson, Chris Evans and Pedro Pascal, written and directed by Celine Song, whose debut, 'Past Lives,' was nominated for two Oscars, including best picture. Johnson's beguiling screen presence, her languidly charged charisma, is put to full use as a professional matchmaker in NYC who finds her own cold calculations challenged when she finds herself struggling to decide between a wealthy, perfect-on-paper finance guy (Pascal) and a perpetually struggling actor ex-boyfriend (Evans). I interviewed Song and Johnson together recently, talking to them about how the film is both a sleek and glossy modern take on the rom-com and also an interrogation of the form and what people want from romance. 'We're not just showing up here to be in love and beautiful and get to be in a rom-com,' says Song. 'We're also going to take this opportunity to talk about something. Because that's the power of the genre. Our favorite rom-coms are the ones where we get to start a conversation about something.' For her part, Johnson has turned down many rom-com roles in the past, but found something different in Song's screenplay. 'The complexities of all of the characters,' Johnson said of what made the project stand out. 'The paradox. Everyone being confused about what the f— they're supposed to do with their hearts. And what's the right move? I found that very honest and I found it just so relatable.' Amy Nicholson opens her review by focusing on the film's lead, writing, 'Dakota Johnson is my favorite seductress, a femme fatale of a flavor that didn't exist until she invented it. … Onscreen, she excels at playing skeptics who are privately amused by the shenanigans of attaching yourself to another person. She shrugs to conquer. 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After calling it 'a smart and sassy high school movie that's fun for all ages' in his original review, Kevin Thomas noted how the film 'has a light satirical touch, works up lots of laughter, but is not heavy-handed about Torrance and her squad taking cheerleading so seriously. Rather than lament how winning a cheerleading trophy seems vastly more important to the squad members than getting the grades that will get them into college, [screenwriter Jessica] Bendinger and Reed instead show us the likable Torrance and her pals receiving some unexpected life lessons.' 'Christiane F.' 4K restoration On Friday, the American Cinematheque will launch a limited run of the new 4K restoration of Uli Edel's 1981 'Christiane F.' Based on a nonfiction book, the story depicts a teenage girl, Christiane (Natja Brunkhorst), in West Berlin who falls in with a crowd of kids who introduce her to using hard drugs and she soon becomes a heroin addict, living a hardscrabble life on the streets. 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A February 1944 Los Angeles Times column by Hedda Hopper explored how Montez pursued stardom with shrewdly calculated verve, writing, 'Outstanding among today's feminine stars who have projected their personalities — and persons — to fullest advantage is Maria Montez. Two years ago this Latin-American bundle of nerve and determination struck Hollywood like a one-woman avalanche, announcing to Universal that she would be satisfied with nothing short of top-flight stardom and swamping the studio's production office with demands for starring roles.' 'Naked Lunch' with Peter Weller On Monday, Vidiots will show David Cronenberg's 1991 adaptation of William S. Burroughs' 'Naked Lunch' in 4K with star Peter Weller in attendance to sign his new book 'Leon Battista Alberti in Exile.' Rather than strictly adapt the book itself, Cronenberg used fragments and shards of its story and Burroughs' own biography to craft a phantasmagorical take on the novel's own creation: An exterminator, Bill Lee (Weller), flees New York for the Interzone after he accidentally shoots his wife (Judy Davis) and sets himself to writing. In a review from December 1991, Peter Rainer wrote, 'There are enough references to the novel, enough episodes and characters, to provide a glancing resemblance to the original. But mostly, Cronenberg jacks up his own career-long obsessions with glop and grunge and decay to fever pitch. It's a movie for people who really dig Cronenberg's mulchy fixations — and probably for no one else. … The ambi-sexual atmosphere carries a demonic charge that approximates Burroughs but, for the most part, Cronenberg was a lot closer to the Burroughs ethos in a film like 'Videodrome' than he is here.' 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New York Times
2 hours ago
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